Daniel Terna

US


Daniel Terna es un artista que vive en Brooklyn y utiliza la fotografía y el video como medios para acceder a lo no-observado, destapando, revelando y dirigiendo la atención del observador a aquello que pasa inadvertido. La obra de Terna, al re-escenificar observaciones pasadas y re-fotografiar lugares, refleja las maneras en las que la perspectiva cambia en el tiempo y se adapta a un ambiente en constante transformación. Terna ha producido series fotográficas y cortometrajes, explorando varios lugares en profundidad y llegando a conclusiones sobre las relaciones personales y la memoria.

Terna ha participado en exposiciones colectivas en MoMA PS1 (NY), el International Center of Photography (NY), Foley Gallery (NY), Baxter Street Camera Club (NY), New Wight Biennial (UCLA, Los Angeles), BRIC Arts Media Biennial (Brooklyn, NY), New York Film Festival (NY), Eyebeam (NY), Museum of the City of New York (NY), The Wild Project (NY), the Carpenter Center for Visual Arts (Cambridge, Massachusetts), Armory Center for the Arts (Pasadena, California), Contemporary Arts Center (New Orleans, Louisiana) y Gallery Tayuta (Tokyo, Japón). Terna hizo una residencia en el Programa de Becas Colaborativas en UnionDocs, Brooklyn y fue premiado con la residencia Cuts and Burns en Outpost Artist Resources, Ridgewood, NY (2012). Terna se graduó con un BA en fotografía de Bard College y recibió su MFA del International Center Photography-Bard College. Dirige la Galería 321 en Brooklyn.

Daniel Terna is a Brooklyn-based artist that uses photography and video as a means to access that which is unseen by uncovering, revealing, or directing attention toward the overlooked. Re- staging past observations and re-photographing places, Terna’s work reflects the ways in which perspective shifts over time and adapts to the changing environment. He has produced several photographic series and short films, deeply exploring various sites and drawing conclusions about relationships and memory.

Terna has participated in select group exhibitions at MoMA PS1 (NYC); the International Center of Photography (NYC); Foley Gallery (NYC); Baxter St. Camera Club of NY (NYC); New Wight
Biennial (UCLA, Los Angeles); BRIC Arts Media Biennial (Brooklyn, NY); New York Film Festival (NYC); Eyebeam (NYC); Museum of the City of New York (NYC); The Wild Project (NYC); the Carpenter Center for Visual Arts (Cambridge, MA); Armory Center for the Arts (Pasadena, CA); Contemporary Arts Center (New Orleans, LA); and Gallery Tayuta (Tokyo, JP). Terna was a resident in the Collaborative Fellowship Program at UnionDocs, Brooklyn, and was awarded the 2012 Cuts and Burns Residency at Outpost Artist Resources in Ridgewood, NY. Terna graduated with a BA in photography from Bard College and received his MFA from the International Center of Photography-Bard. He runs and co-curates 321 Gallery, Brooklyn.


We Buy Gold! [¡Compramos oro!]

Las imágenes en We Buy Gold! fueron hechas en el distrito de los diamantes de la ciudad de Nueva York durante las Altas fiestas, cuando los negocios de propietarios judíos cierran sus puertas y retiran las joyas de las vitrinas por varios días. Lo que queda son filas de cuellos de maniquíes recubiertos de terciopelo y modelos de dedos desprovistos de sus ornamentos usuales. Las marcas de los objetos ausentes se divisan en los arreglos afelpados de las vitrinas, y las manchas de huellas dactilares y de las líneas curvas de los grafitis quedan grabadas en el vidrio de las fachadas. Carentes de sus adornos y su opulencia usual y dispuestos sobre las repisas con colores que evocan la realeza, los bustos de cuellos son reducidos a su forma no-funcional, transformados involuntariamente en bodegones, diminutas metrópolis de gamuza vaciadas de sus ciudadanos, y arreglos de vitrina irreales que recuerdan el París de principios del siglo XX.


We buy Gold!

The pictures in We Buy Gold! were made in New York City's Diamond District during September’s high holidays, when Jewish-owned businesses lock their doors and remove jewelry from the display windows for several days. What remain are rows of velvet-covered neck easels and finger arrangements, devoid of their normal ornaments. The imprints of missing items are visible in the plush window displays, and smudges of fingerprints and swooping graffiti marks are etched into the glass of the facades. Unadorned of their normal opulence and set on top of shelves in colors evocative of royalty, the neck busts are reduced to their functionless forms, inadvertently transformed into still lifes, suede micro metropolises vacant of citizens, and surreal window displays reminiscent of early 20th century Paris.


Untitled (Magenta), 2013
From the series We Buy Gold!
Archival Pigment Print
30" x 20"

Untitled (Blue Necks), 2013
From the series We Buy Gold!
Archival Pigment Print
30" x 20"

Untitled (Green), 2013
From the series We Buy Gold!
Archival Pigment Print
30" x 20"

Using Format